This is a project that was born in Italian city Turin in the beginning of the New Millennium. After a period dedicated to the electric experimentation, the duo formed by Walter F. (vox, guitars, bass and devices) and Danilo A. “Pannico” (drums, percussions, piano, organ, marimba and devices) has published a first work in 2005, an approach to the song form integrating progressive and psychedelic influences. The homonymous EP got very good reviews from all the international qualified press and let the two musicians to improve their musical experience with many live and studio collaborations, particularly in France. Down In Shadows is the new N.y.X’s album, a co-production with the famous Italian label Electromantic Music (led by Beppe Crovella, known from Italian Classic Prog legend Arti & Mestieri): it is a concept, based on the pure tradition of the experimental music, telling a modern story of betrayal and loneliness.

So this is the 9th outing by acclaimed producer Daniel Lanois, as a solo recording artist in his own right. Expectedly, the album prides itself of all the qualities essential to a good record: it is written, composed, arranged and mixed to perfection -basically, it is a producer's production, condensed in 18 tracks and the ideally exact duration of 1 hour.

'10 years in the making, Fjieri's debut album Endless represents the satisfying conclusion to a meticulously executed labour of love. The band, led by Stefano Panunzi and Nicola Lori, are joined by an impressive cast of guest musicians, including Mick Karn, Tim Bowness, Andrea Chimenti, Peter Chilvers, Nicola Alesini and Porcupine Tree members, Gavin Harrison and Richard Barbieri. Co-produced by Barbieri, the album artfully combines Ambient and Progressive Rock influences to create a sophisticated sound that incorporates delicate atmospherics, rich melodies, looping rhythms and hard-hitting riffs. Recalling aspects of Rain Tree Crow, Pink Floyd, Porcupine Tree, Eno, King Crimson and No-Man, Endless is a powerful debut statement from an Italian band in the ascendant.'

As the Yes bandwagon rolled into Boston on the last date of an extensive tour, it was King Crimson who opened up for them. When Yes took took to the stage that night and Jon Anderson announced "That was a really fine set by King Crimson wasn't it? They are a truly great band" he wasn't wrong.

"That is what makes this such a great show. The light and shade within the set, the dynamics within the numbers themselves and the thoughtful pacing of the different numbers. This isn't a band going through the motions. This is a band with no passengers, actively listening to each other, taking risks and working with each other to push boundaries" — John Kimber

"I'm really impressed by the playing and the confidence with each other that is so apparent. It's the sheer joy of playing which comes across to me when I listen to this music now; it's kind of right on the edge all the
time, taking tremendous risks with material that we really understood very well." David Cross

So here we are in Denver, Colorado March 13, 1972. Another town, another gig and yet another King Crimson line-up due to go their separate ways at the end of an American tour. Though this particular gig was chosen for the KCCC well before the loss of Boz and Ian, it somehow seems a fitting tribute to them, and in particular, their resilience as players and people. — Sid Smith

""Almost always Robert, Trey and I soundcheck before Adrian. He likes to get in and out of the venue as soon as possible so he comes just before. The rest of us would come early, rehearse and practice all the way through. So it wasn't that peculiar that Adrian wasn't there right away. Then as it got closer to the end of soundcheck and he still wasn't there that's when the decision was made to offer a refund or have P3 play. It was fairly last minute." — Pat Mastelotto

"Good solid show tonight. Park West is a fantastic venue. The sound is always great. Plus, Chicago audiences are always very up-to-date with what we're doing. When we walked on stage tonight we had the feeling that
everyone was with us. And in fact, I think a lot of the audience had already heard the CD." Trey Gunn

Tight, complex, startling and sonically ambitious, this was a King Crimson full of energy, the embodiment of what Rolling Stone magazine critic Chip Stern had in mind when he declared "Crimson creates a new kind of
electronic string music that achieves an orchestral density without resorting to ersatz art-rock bombast."
Sid Smith

Fripp believed the Wiltern gig to be a major show and wanted to release it straight away. Belew agreed and a mix was partially completed but the tapes were lost. The planned record was shelved; superseded by B'Boom and the all-improv album, THRaKaTTaK.

"This is obviously a band at its peak, enjoying one anothers playing and it shows. Mel, Robert and Ian are stretching out whilst Boz is anchoring the whole thing, steady and ultimately reliable, enabling the others to take it out as far as Pluto and back without ever getting lost. A musical lighthouse if you will saving the others from an impending train wreck."
Ian Wallace